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Catalog description:
Single-semester survey of the history of original music for motion pictures and
television. No musical training required.
Required text:
Hickman, Roger. Reel Music: Exploring 100 Years of Film Music, second edition.
W.W. Norton & Company, 2017.
Grading:
a. Midterm exam, Oct. 11 (33 percent).
b. Term paper (33 percent): Analysis of one complete film score (to be approved
by instructor), including a discussion of each cue in the score (description of both the
music and its dramatic context, and opinion of its effectiveness). Due Nov. 8.
c. Final exam, Dec. 6 (34 percent).
Disability:
Any student requesting academic accomodations based on a disability is
required to register with Disability Services and Programs (DSP) each semester. A letter
of verification for approved accomodations can be obtained from DSP. Please be sure
the letter is delivered to me as early in the semester as possible. (213) 740-0776.
Office Hours:
By appointment only, my office TMC 125 (Tuesday or Thursday 3-4 p.m.
preferable; Wednesdays possible depending on my schedule).
Week 1. Introduction
* Overview of the course
* Film-music basics: What is the function of music in film?
* Discussion of music in silent films: original scores, compiled scores,
combinations of both
(for Thurs.) read ch. 1, 3, 4, 9
* Early experiments with underscoring dialogue and action
* Pioneers in dramatic scoring during the 1930s
2
* Max Steiner
(King Kong, Gone With the Wind, Now Voyager, Casablanca)
Week 5. New Faces, New Sounds, part one: the ‘50s and ‘60s
read ch. 14, 17
* European-style 19th-century romanticism becomes outmoded as American
music and composers come to the fore
* Alex North
(A Streetcar Named Desire, Spartacus, The Misfits)
* Leonard Rosenman
(East of Eden, Rebel Without a Cause, Fantastic Voyage)
* Elmer Bernstein
(Man With the Golden Arm, Magnificent Seven, To Kill a Mockingbird)
* Jerome Moross (The Big Country)
3
Week 6. New Faces, New Sounds, part two: the ’60s and ‘70s
read ch. 18, 19
* Influence of young composers from the big-band era and television
* Jerry Goldsmith
(Planet of the Apes, Patton, Chinatown, Star Trek: The Motion Picture)
* John Barry
(Goldfinger, The Lion in Winter, Out of Africa)
* Henry Mancini
(Touch of Evil, Breakfast at Tiffany’s, The Pink Panther)